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This third volume in the monograph series of work by Jones, Partners: Architecture picks up where the previous volume El Segundo left off. After 10 years in El Segundo the office has relocated near Sciarc in the arts district of DTLA (Downtown Los Angeles) where Jones is teaching and many of the team members have matriculated or are studying.>This third volume in the monograph series of work by Jones, Partners: Architecture continues the coverage of the firms "words, buildings, machines," in the same signature graphic form that made the previous two volumes inspirational collector's items.

Neither an architect nor a landscape architect, Pechet might best be described as an urban acupuncturist.As a keen observer of interactions between animate beings and inanimate things, Pechet has sensitively mended public spaces in Canada and the United States for decades, designing strategic and delightful interventions in public parks and plazas, waterfronts and streetscapes, LRT stations and cemeteries. As a beloved teacher, he has also educated generations of architecture and design students at the University of British Columbia to approach their work with the same sense of curiosity and adventure he brings to his own. Despite Pechet's extensive body of work, nearly all of which is publicly accessible, he remains little known internationallyThis project aims to correct that oversight by extending the collaborative nature of Pechet's own practice to include talent from Europe, South America, the United States and Canada. With each collaborator presenting their unique perspective on the work, this monograph will be unusually complex and multivalent.A fulsome monograph on the work of Bill Pechet is long overdue. This book will be a rich and joyful celebration of a talented and beloved Canadian artist, designer and teacher who has much to offer us all.

Manhattan is commonly regarded as an iconic island-territory of the twentieth century. Conventional representations reinforce its reading as an urban condition resulting from neoliberal capitalism. These forces have expanded the city grid and extruded its architectures as a laboratory of urban ideas. >With a focus on iconic city representations, the book examines distinct logics that try to make capitalist progress compatible with its territorial conditions. Even though these logics of land, water and ground - here called geologics - are perhaps less dominant than the dense urban culture and, therefore, less predominant in the representation of the city, they are still important to explain why Manhattan evolved to its current condition. The book explores these geologics through relationships between three nineteenth-century plans of Manhattan and three late-twentieth-century architectural manifestos - Delirious New York (Rem Koolhaas), The Manhattan Transcripts (Bernard Tschumi), and Lower Manhattan (Lebbeus Woods). Plans and manifestos are explored creatively through design experimentation that retrospectively repositions these representations from the perspectives offered by the Anthropocene. With an intricate connection between image, text, and installation, the book is an open invitation to radically interconnected imagination. Geologics advocate for architecture to become a productive and fluid mediation between city and geology. They propose a reconfiguration of urban territories as resilient hybrid possibilities amongst accelerated change and large-scale geoengineering.

Reimagining Environmental Identity by Ping Jiang presents a compelling exploration of architectural practice designed to navigate the dynamic urban landscapes of China and beyond. The book showcases 19 diverse projects from Jiang's studio, reflecting a novel approach to architecture that engages deeply with social, cultural, technological, and environmental issues. Rather than adhering to conventional architectural norms, Jiang's practice emphasizes the creation of meaningful, context-sensitive designs that foster a profound connection between people and their environment. Through a range of projects, from high-rise buildings to urban interventions and civic structures, the monograph highlights a non-linear design process that blends spatial experience with cultural relevance and environmental sensitivity. It underscores the importance of forging a unique sense of place and identity in architecture, advocating for designs that resonate with both local and global contexts. This collection offers insights into how contemporary architecture can address the complexities of urban life while preserving and enhancing cultural and environmental values.

Ever more technologies are being created to sense our environment, and much is being learned about how animals and plants sense theirs. We often think of these tools as extending our capacity for sensing what is not available through natural human perception. But what is "natural" about human perception? Not as much as was once believed, it turns out. Many of the contributors to LA+ SENSE consider how our senses have become naturalized, and our bodies and experiences standardized. Topics also include sense and surveillance, sense of place, and whether we can even trust our senses. Edited by Karen M'Closkey, contributors include Elena Abbiatici, Sarah Coleman, Tim Cresswell Lisa Yin Han, Ai Hisano, David Howes, Mark Kingwell, Jia Hui Lee, Gascia Ouzounian, Kris Paulsen, Sally Pusede, Erin Putalik, Douglas Robb, Chris Salter, Alexa Vaughn, Alexa Weik von Mossner, and Mark Peter Wright.

Between Shadow and Light probes Maryann Thompson's commitment to an architecture that is sustainable and regionally driven and her penchant for heightening the experiential qualities of each project through a holistic, consensus-building approach to design. Between Shadow and Light is the first comprehensive monograph on the work of Cambridge-based architect Maryann Thompson. As one of her clients recently declared, Thompson inhabits a "liminal" space, a space of both-and, of inside and outside, of light and shadow. It is a dialogic space, a position from which to examine a situation from multiple perspectives, to facilitate opportunities for discussion, and, ultimately, to seek a consensual basis for design. For Thompson, architecture is the stage on which we live out our lives, a philosophy that foregrounds its inherent symbolism, its ability to arouse our emotions, to challenge our preconceptions, and to provide sites of individual solace and respite from quotidian affairs as well as of heightened collective interaction. Her inclusive design process encompasses extended conversations with clients, patrons, users, and ultimately with the public at large--all envisioned as a means to address the collective social dimension of the work. To address the myriad ways in which certain prominent themes in the work transcend notions of chronological development or typological classification, the book has a tripartite organization. A set of essays on certain theoretical starting points is followed by an elaboration of distinctive architectural themes. It concludes with brief analyses of selected examples of the work, grouped according to programmatic type.

It could be said that Walter Gropius laid the cornerstone of modern architecture in 1919 by founding the Bauhaus. As a result, modern architecture is now over 100 years old. This first century of modernism has come to a close with a mixed review. Enthusiasm for its achievements goes hand in hand with a discontent about a sizeable portion of its outcome, as well as its effect on the natural and built environments. The most vocal supporters of these modernist ideals crafted epic claims that modernism was bound to deliver progressive and humane environments. Alas, the follow through of those promises was uneven at best. Can we update this ideological framework, establishing a new outlook that is both open-ended and operational? If the first century of modernism can be considered an architecture of abstraction and ideas, then what might we design if we turn our attention, in this second century of modernism, to an architecture of emotional abundance? Second-Century Modernism creates an architecture of richness and community by placing a higher priority on emotional meaning, through a shift in the design process that balances the rational with the intuitive, and a "Less + More" approach to expanding the range of cultural values we can inclusively balance in our environments. It welcomes you to embrace the paradoxical qualities of human existence.

The book offers a new conceptual and historical framework for the study of Kocher's body of work that relocates it within the history of American modern architecture.>Kocher's ideological position and his continuous eagerness for experimentation transformed him into an atypical practitioner. While many of his contemporaries were purely design focused, he established a very avant-garde symbiosis among his three main endeavors: his work as an educator, as a scholar, and as a practitioner. Some of his architectural works can be seen as manifestos that would later further develop in the articles of Architectural Record. Some others are the direct and material demonstrations of industrial systems and materials previously explored in his articles. Even other works are conceived and executed as part of a pedagogical activity. It is rare to find an architectural design in Kocher's body of work that does not demonstrate a multitude of interconnections among his pedagogy, his editorial work, and his scholarship.

This book is a photographic journey-complemented by a collection of academic essays on related historical, architectural and artistic topics-on the origin and life of "Africa Hall" in Addis Ababa, Ethiopia.

To Reach the Source: The Stepwells of India is a photography book about a unique and magnificent architectural form that remains unknown to most people outside (and even within) India. More than just a shaft dug into the earth to fetch water, these are entire buildings that descend several stories below ground; they are spaces to be entered and occupied, serving functional, social, and ritual purposes. Often, they are as monumental and ornate as a church, and this is intentional. They are a source of water, a gathering space, and a temple all at once, but instead of rising into the sky, they descend below the surface. They create a spatial experience unlike any other, in which one is below ground but remains connected to the sun and sky. Today they lie largely abandoned and overlooked, in various states of preservation or, more often, disrepair. The photographs seek to recreate the striking ambiance that they elicit. The brief text that follows the images (interspersed with a few architectural drawings) provides a necessary minimum of context, ultimately to reinforce the primarily visual nature of the reader's experience, one in which the photographs have priority. The photographs seek to give readers some sense of the meditative process of descending into these beautiful structures, of going away from the surface on which we live, but not being cut off from it, instead directed towards the very source of life.

Street Beauty is high visual impact one-of-a-kind street art photography book by renowned international street art photographer Hannah Judah.

SCDA celebrates the acclaimed firm's extensive portfolio of work across the globe - from Singapore and China to the United States.

Growing up, almost every kid dreams of finding buried treasure. That dream slowly fades with age as they realize that Blackbeard never visited their backyard. For some, the search for treasure continues in their adult lives in other ways. Metal detectors and shovels may be replaced with online searches and library visits, but the thrill of the hunt is still alive, ever driving the quest forward.Lost Danish Treasure tells the tale of two stories: 1) the history of Finn Juhl's iconic Chieftain Chair and a long-forgotten painting that preceded it, and 2) the individual connections to this design by a small group of collector researchers. Although starting in different eras and timelines, the two accounts start to intertwine over the course of the book, with the research efforts of today helping to unravel the mysteries of the past. As each chapter unfolds, more and more clues are revealed that slowly weave the storylines closer together--until the summer of 2021, when both accounts collided after Lot 242 popped up in an auction house in Chicago. The result of the subsequent analysis sheds new light about the origins and identity of the very first Chieftain Chair.

AI Sapien unveils a paradigm-shifting vision of artificial intelligence (AI) and the future of architecture by merging cutting-edge AI art with insightful dialogues and poems set to Bach's Goldberg Variations. This mixed media approach explores the future of architecture and its relation to these ontologically mysterious machines starting to simulate sentience. Presenting a future where AI and habitat are inextricably linked, this book reveals new insight into AI's enigmatic "Black Box."

There are no books that focus on the unique artistic characteristics of the Venetian facade and its potential relevance to contemporary architectural and urban issues, as this book intends. This book is about architecture. It is not about history, although a bit of history is necessary to set the context. It is not about theory, although, again, a bit is necessary to connect the facade with urbanism. It is also not about structure and technology. And, most definitely, it is not about the plan. All of these topics are well-covered elsewhere. This book is about the facade. It explores the art and typology of the Venetian facade, not only as a high point of architectural literacy and achievement, but as a potentially useful contemporary stimulant.